Few anime theme songs are able to withstand the test of time quite like “The Cruel Angel’s Thesis,” the iconic opening to Neon Genesis Evangelion. Performed by Yoko Takahashi, the track has become more than just an anime opening theme song. It’s a song that brings people together constantly and remains iconic. Most recently, Takahashi held a special concert for Anime NYC attendees to celebrate thirty years of Evangelion. Before the special concert, however, Anime Trending and other outlets got to speak with Takahashi at a press junket about her long career in the music industry and her thoughts on Evangelion’s timelessness.
According to JOYSOUND, a Japanese karaoke brand, “The Cruel Angel’s Thesis” ranked as one of the top four songs in the first half of 2025. In response to this, Takahashi also wanted “to know the secret behind it as well.” She added, “It’s a song that really kind of gets everybody together and brings them together, so I think that’s also part of the reason for its enduring popularity.”
Although fans might believe that singing the song comes effortlessly to her after decades of performing, Takahashi admitted that it remains one of the most challenging songs to sing live. When asked about a song that she would like fans to listen to, Takahashi mentioned “Soul’s Refrain.”
In terms of the broader appeal of Evangelion itself, Takahashi praised the franchise’s creative excellence: “I think one of the reasons is Evangelion itself is so great. It’s great on so many different levels — the story, the actors, the music, everything about the piece in and of itself is such high quality that that’s part of the reason that it’s endured for so long.”
Neon Genesis Evangelion may have first aired thirty years ago, but as Takahashi says, “In Japan, the series is so beloved, it’s broadcast over and over again on TV.” With multiple rebroadcasts and the love that Japanese people have for the series, Takahashi explains that it ultimately “expanded the audience base in Japan to be even younger,” especially during the pandemic and lockdown, when people could re-watch the series or watch it for the first time.
Takahashi pointed out that watching something for the first time, especially anime, makes it “become a thing of the now, of the moment,” emphasizing how each person’s experience with the show essentially begins the moment they start watching it. No matter the age, it will always bring the viewer back, which is what Takahashi finds interesting: “One of the things that I find so interesting about anime is when you are watching it for the first time, it becomes new again.”
A few questions from the press also dove into Takahashi’s journey in the music industry and how she got to where she is today. She shared how she debuted in 1991, after the economic bubble burst, and that at the time, the music landscape was unstable. Within that instability, Takahashi persevered and continued to work on her career. Ever since, she has forged enduring relationships with many musicians and composers, one in particular with composer Toshiyuki Omori.
“I actually knew him before my debut. Through him and his connections, that’s how I got the Evangelion gig. We have had such a great musical connection throughout all the years, and actually, at one point, I was part of his talent agency,” Takahashi said. “He’s like a great teacher in my life, but also he’s someone that I feel comfortable with, where I can say how I feel around him.”
Takahashi also talked about one of the first experiences working in the music industry with Toshinobu Kubota, an artist who first introduced funk music to Japan. His words on the truth behind background singers left a strong impression on a young Takahashi: “The background singers aren’t background singers because they’re worse than the main performer. They actually have to be better than the main performer.” This lesson contributed to her strong foundation in professionalism that she took to heart: “He gave me a sense of having a very high level of professionalism in my singing ability at that age and gave me a fresh perspective as I was starting out as a young singer.”
Today, as a veteran in the industry, Takahashi often finds herself answering many questions from younger artists about becoming a singer or getting their start in the industry. “I really polished my skills as a background singer and as a studio musician,” Takahashi said, pointing out that even her career as a singer didn’t immediately take off as one might imagine.
She even focused on her weaknesses and offered this advice for aspiring artists and musicians: “Repeating the things that I feel like I’m weaker at, you get better and better at doing those things. You don’t want to focus on doing the skills that you’re actually good at. That’s how you actually get results in the industry — polishing your skills and becoming good at the things that you are weaker at.”
Three decades after Evangelion first captured audiences, Yoko Takahashi remains one of the voices most closely tied to anime history. Her reflections reveal not just the magic behind a single song but the resilience and dedication that have defined her career. Whether through iconic songs like “The Cruel Angel’s Thesis” or the mentorship she now extends to younger artists, Takahashi continues to embody the passion that keeps anime and its music alive across generations.
